CANNES 2021: The Worst Person in the World
CANNES 2021Joachim Trier's The Worst Person In the World, the last in the famed directors 'Oslo' trilogy, follows Renate Reinsve's Julie. On the surface – and for a prominent amount of the first act – Trier's feature follows a rather traditional generic path: girl meets boy, grows closer and falls in love, faces an existential crisis, and has to come to terms with the future they both want. It would not be remiss to note that such a narrative is wildly conventional and ultimately somewhat a little stagnant.
Nevertheless, quite stirringly and effectively, Trier's film changes tone and energy as soon as Julie meets Anders Danielsen Lie's Askel. Like her character in the film, the atmosphere and world change and ultimately turn on its head. It is a fascinating and genuinely immersive trait the film entails. Its sudden change of heart utterly absorbs the exact same thematic headspace such an ordeal would feel for the character, now affecting the audience from this moment forward; Julie's life changes, and so does the film itself.
Not only in terms of narrative, but in aesthetic and filmmaking. In the midst of love, time slows down and to effectively showcase this theme, so does Trier's film. In ways, the build-up is crafted in a mood of affection and romance. Small fleeting impassioned moments are elongated and build up to what is perhaps one of the feature’s strongest romantic sequences. One which is so simple and, on the surface, effortlessly crafted, it evokes such a sense of wonder and marvel. The simplicity of it all feels refreshing and ever so atmospheric. A testament to Trier, who crafts his cinema, not in the prize of filmmaking awe but a volcanic eruption of character flavour and simplistic technique. Never does the flair and skill behind the camera infringe or undermine proceedings, but benefits and upholds the sanctimony of thematic brevity.
Equally as effective and an integral part of the piece of this masterwork is that of Trier's cast. Stellar is arguably too arbitrary a word to describe such a colossal set of talent and equally range. Renate Reinsve's Julie, for one, is the standout. What proceeds from the opening as quite an introverted and closed off individual erupts into a profound awakening of thought and feeling. Her eyes are a constant measure to dictate emotional depth, yet her venom and suffering are all to see in an instant. Reinsve's character – perhaps in one breath – is quite difficult to like. Not because of her path and character decisions that, yes, are quite reactionary yet thoughtful and kind, but because the audience will see so much of themselves inside of her. Or perhaps it is that Reinsve's Julie has in herself the power to acknowledge her unhappiness, to change the circumstance of her life – often to the detriment of others. It is this power that, in fact, gives her strength in a situation that often people lie powerless, and Trier, along with co-writer Eskil Vogt, bring quite a nuanced and layered look into that such depth.
Granted, it can be quite an uneasy watch. Jumping from year to year to see Julie's life take shape reflects the viewers own insecurities in their respective narratives, and the film touches on undeniably heartbreaking and quite poignant elements. Nevertheless, Trier and Vogt put the viewer through the wringer, through a complex but enlightening tale of empowerment and study of life. There is thought and feeling to be felt and understanding and resolution to be found. It is the end of Trier's ‘Oslo’ trilogy, but perhaps to even further degree, The Worst Person In the World will stand as his masterwork of a filmography.
